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LORENZO FERRERO

Jazz/Bebop Licks Collection

PART I: Basic II-V-I Licks

Basic II-V-I in Major and Minor LICK #1 II - V - I in Eb Major -This is a classic II-V lick with a few chromatic embellishments and specific tentions which makes this phrase extremely melodic and sort of romantic sounding. I'm suggesting a specific articulation which works very good with the phrase, but feel free to try your own combinations.

FOR ALTO SAX: D‹7

G7(b9)

j Œ ‰ œj œ œ œ- œ-#œ œ nœ#-œ œ -

& Ó

 œb œ

C6(„ˆˆ9)

œ œ n-œ j œ - -œ -œ œ ˙ œ n-œ#œ ù œJ J

bbb

CONCERT PITCH: F‹7

b &b b Ó

B¨7(b9)

Œ ‰ j j #œ œ nœ nœ œ œ -œ œ œ- œ- -

 œ bœ

E¨6(„ˆˆ9)

œ œbœ j œ j œj œ œ ˙ -n œ- n œ ù œ- - - œ

nnn

LICK #2 II - V - I in Gb Major -This lick features the use of chord tones in arpeggio mode over the II chord and two versions of the same tention over the V chord. I use the natural 13th first, and then the b13, which then resolves chromatically to the 9th over the I chord. These has a sort of "Bright to Dark" effect because of the use of the natural 13th followed by the b13. The b13 also provides us with an old fashioned bluesy sound. FOR ALTO SAX: F‹7

b-œ &

B¨7

B¨7(b13) E¨Œ„Š7 b œ œ bœ œ œ œ bœ ˙ -œ b-œ - -œ -œ -œ œ nœ œ

bbbbbb

3

CONCERT PITCH: A¨‹7

b & b bbbb œ-

D¨7

œ- œ œ œ œ- œ- - -

-œ

D¨7(b13)

-œ nœ-

G¨Œ„Š7 3

œ bœ

œ

FERRERO Productions 2019

œ œ œ ˙

bbb

3 LICK #3 II - V - I in G minor -This is a very expressive phrase over a minor II-V that contains a broad range. It is characterized by the sound of the #11 over the V chord (as opposed to using the 3rd, which would be more traditional). It also contains several leaps and long Non-Chord tones, which are used as chromatic decorations (Such as the D# on the Am7 chord). These combination of elements make this lick incredibly expressive.

FOR TENOR SAX: B‹7(b5)

D7(#11) nùE7œ n œ # œ œ n œ œ A‹7 œ œ n œ œ #œnœ -œ n-œ œ œ#œ œ b n œ # œ œ œnœ#œ œ & b b -œ nœ

bb

3

CONCERT PITCH: A‹7(b5)

D7

G‹7 C7(#11) œ n œ œ œ œ œ œ #œ œ ù #œ œ œ b œ œ œ œ œ œ # œ # œ œ œ œ nœ œ &b œ œ

nn

3

LICK #4 II - V - I in Bb Major -This is a much more modern phrase, used a lot on my playing.It is characterized by the dexterity of arpeggios combined with chromatic approaches (such as the F# and the E approaching the F natural on the Dm chord, and the G# approaching the A right after that). On the first half of the second measure - G7 chord (V7), you can see that the phrase is very diatonic to C major, as opposed to the second half of the measure, which accentuates altered tentions such as #9, b9 and b13. All these while still using chromatic approaches and finishing with an augmented arpeggio. FOR TENOR SAX: D‹7

& œ

G7

G7[äÆ]

CŒ„Š7

b œ b œ œ#œ œbœ œ n œ # œ n œ œ œ œ œ nœnœ w œœ œ#œ œ œ œ œ œ œ œ œ œ œ œ

bb

CONCERT: C‹7

b b &

F7

F7[äÆ]

B¨Œ„Š7

œnœ œbœ nœb œ bœ œnœ œbœ œ œ œ œ œ œ œ nœnœ w œ œ#œ œ œœ œ œ œ œ œœ FERRERO Productions 2019

#

4

Common Jazz Turn Arounds in Major Keys LICK #5 Turn Around/Rhythm Changes in Bb Major -This long phrase goes back to the 50's and combines Dexter Gordon with Charlie Parker. Featuring common approaches to different chord tones and tentions. Excellent for rhythm changes and turn arounds. You can break down this phrase and grab the best bits and pieces to create your own!

FOR ALTO SAX: GŒ„Š7 GŒ„Š7

E7(b9)

A‹7

D7(b9)

B‹7

E7

A‹7

D7

œ œ œ b œ œ n>œ

-œ -œ - nœ œ œ œ -œ#-œ œ - œ-nœ œbœj œ #œj œ œnœnœ œ#œ œ œ œ œ œ & #

bb

CONCERT PITCH: B¨Œ„Š7 B¨Œ„Š7

G7(b9)

C‹7

F7(b9)

D‹7

G7

C‹7

F7

b & b œ- œ- œ œ bœ œ œ œ- œ j œ j œ œnœbœ œ# œ œ œ œ œ -b œ œ b œ n œ - - n œ-

œbœ œn>œ œ œ œ

b

LICK #6 Turn Around/Rhythm Changes in Eb Major -This phrase is one of my stamps when playing straight ahead jazz. It combines the traditional sound of Dexter Gordon and Cannonball Adderley, the innovative dexterity of John Coltrane and my own chromatic approaches and arpeggios. Notice the different use of tentions on the C7 on the second measure. I really enjoy the sound of hitting the natural 13th first and then the b13. 13 first and then FOR TENOR SAX: A‹7

D7[âÅ]

G‹7

C7[äÆ]

n œ nœb œ œbœbœ œ œ œ œ œ œ nœbœbœbœ œ œ œ nœ œ œ # œ œ œ nœ œ œ nœ œ œ bœ &b FŒ„Š7

G‹7

A‹7

D7(b9)

n œ œ œ œ b œ nœbœ œ#œ œ œ œ # œ œ nœbœ œ œ n œ œ n œ n œ œ œ œ b n œ n œ œ & nœ œ œ#œ FERRERO Productions 2019

G‹7

˙ Ó

bbb

CONCERT PITCH: 5 G‹7

C7[âÅ]

F‹7

bb nœ œ œ œ œ œ œ#œ œ#œ nœ œ œ œ b & œ #œ E¨Œ„Š7

F‹7

B¨7[äÆ]

nœbœnœbœ œ œ œ œ nœbœ œbœbœ œ œ nœ

G‹7

C7(b9)

F‹7

nœ œ œ œbœnœbœ œ#œ œ œ œ # œ b œ n œ œ n œ œnœnœ œnœ œ œnœbœbœ œ œ ˙ & b b nœ œ œ

# Ó

LICK #7 Turn Around/Rhythm Changes in Eb Major -This phrase features the use of scales and chromatic approaches. If you analyze the shape of the phrase, it's actually constructed by melodic archs that go up and down constantly. Notice that the second half of the first measure is exactly the same on the second measure. This is a very common device to use when improvising over consecutive II-Vs, specially on turn arounds like this one.

FOR ALTO SAX: G6

E7(#9)

A‹7

D7

nœ œ œ œ œ # œ œ nœ œ œ œ œ œ œ nœ nœbœ œ œ œ œ œ œ#œ œ œ & n œ œ#œ œ œ#œ B‹7

E7(b9)

# & œ œ œbœ nœ œ œ œ

œ

A‹7

œœ œ # œ œ œ

nœ

œœœ

D7(b9)

œbœ nœ œ œ œ # œ n œ # œ œ œ œ#œ

GŒ„Š7(#11)

# #>œ &

Œ

bb

Ó

CONCERT PITCH: B¨6

G7(#9)

C‹7

F7

œb œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ nœb œ bœ œ œ b œ œ œ œ b n œ b œ & œ#œ œ œ nœ D‹7

G7(b9)

C‹7

bœ œ b œ œ & b œ œnœbœnœnœ œ œ œ œ œnœ

bœ œbœ œ b œ œ œ œ b œnœ œbœ œ œnœ œ

B¨Œ„Š7(#11)

&

> n bœ

Œ

F7(b9)

Ó FERRERO Productions 2019

6 LICK #8 Minor Turn arounds and II-Vs -This is a very common harmonic progression on minor keys. It features a similar sound to the Rhythm Changes, but in a minor key and with minor II-Vs. This phrase is constructed by small motives that approach specific altered tentions on the dominants (Like the b13 on the second measure and the #9 on the fourth measure.

FOR TENOR SAX: D‹7

B‹7(b5)

E‹7(b5)

A7(b9)

D‹7

B‹7(b5)

B¨Œ„Š7

œ œ#-œ - -œ -œ œ#œ œ ‰ œ œ bœ œœœ b n œ b œ œ#œ œ œ J œ & œœœœ

D7(#9) -œ b -œ -œ nœ œ œ œ 3

G‹7

-œ

&b

>œ E‹7(b5) œ™ œ

A‹7(b5)

D7(b9) -œ b-œ œ -œ œ œ œ #œ œ #œ œ œ nœ #œ bœ œ œ

#œ J

3

G‹7

E‹7(b5)

œ œ n œ œ &b œ

3

E¨7

D7 œ bœ œ bœ bœ œ œ bœ bœ

œ œ

G‹(Œ„Š7)

w bb

3

CONCERT PITCH:

C‹7

A‹7(b5)

D‹7(b5)

G7(b9)

C‹7

A‹7(b5)

bœ œ œ œ n-œ - -œ -œ œ nœ œ ‰ œ œ b œ b œ & œ œ œ œ œ œ #œ œ œ J A¨Œ„Š7

C7(#9)

D‹7(b5) G‹7(b5) C7(b9) -œ b -œ -œ - F‹7 >œ œ™ -œ b œ b -œ -œ b-œ - -œ -œnœ œ#œ œ œnœnœbœ b œ n œ œ œ œœ œœœ & b œ bœ J 3

3

F‹7

D‹7(b5)

b bœ œ bœ œ œ b &

3

D¨7

œ œ

C7 F‹(Œ„Š7) œ bœ œ b œ w bœ œ bœ bœ bœ 3

FERRERO Productions 2019

nn

7 LICK #9 II-V-I in Eb Major. Lick Combination This is another classic II-V-I lick that I constructed by combining extracts from Charlie Parker with some of my own spice. The sound of this lick is characterized by the resolution to the #11 on the C Major Chord, instead of resolving to the 5th. FOR ALTO SAX: D‹7

G7(#9)

CŒ„Š7

œ >œ #œ œ >œ nœ œ œb œ œ b œ #œ œ œ#œn œ nœ œ œ ‰J ‰J œ & Ó Œ ‰J 3

G7(“4) C%

œœ

œ œœ ˙ bbb

CONCERT: F‹7

B¨7(#9)

E¨Œ„Š7

B¨7(“4) E¨%

3 œœ œ œ œ ˙ b j b œ œ j j œ b Ó Œ ‰ œ ‰ ‰ n œ n œ b œ œ nœ œ#œ & b œ >œ nœ œ œ bœ œ œ œ >

bbb

LICK #10 Common II-V-I-VI Harmonic Progression

This is a very melodic and simple phrase over a tyopical II-V-I-VI harmonic progression. It is characterized by starting the phrase with a very traditional line over the II chord, and fall to some chord extensions over the V chord, in this case b9 and #9. FOR TENOR SAX: F‹7

B¨7 C‹7 -œ -œ - B¨(b9) E¨Œ„Š7 3 3 œ #œ bb Ó Œ ‰ j b œ œ b œ œ œ b œ n œ b œ œ œ œœœ œnœ œœnœœ & nœ œ œ œ œ˙

bbbbb

CONCERT: E¨‹7

A¨7

A¨(b9) D¨Œ„Š7 B¨‹7 œ 3 3 œ œ bbb Ó Œ ‰ j n œ b œ œ b œ œ n œ nœ- bœ œ œœœœ œ & b nœ œ œ œ œ œ œ œnœœ œ ˙

FERRERO Productions 2019

#### # #

8 LICK #11 Minor Turn arounds and II-Vs This is another short harmonic extract that you will encounter on many Bebop Standards, where you will find consecutive II-V in different tonal centers. We will study licks over more complex harmonci progressions on later volumes. FOR ALTO SAX: G©‹7

C©7(b9)

F©‹7

B7(b9) E%

œnœ œ #### # Ó Œ ‰ j œ œ œ œ œ œ œ œ nœ nœ œ œ œ n œ ‰nœJ w #w œ & # œ œnœ œ

#### #

3

CONCERT: B‹7

E7(b9)

A‹7

D7(b9) G%

3 #### Ó Œ ‰ n œ œ œnœ nœ ‰bœj w nw j nœ œ œnœ œ œ nœ nœ œ œ nœ & # n œ œ œ œ œnœ

b

LICK #12 II-V-I IN Eb Major This lick is characterized by using the #11 to briefly tonicize the F triad (concert) over the Eb Major Chord (Concert), which produces a very bright and interesting sound. It gets away from the sound of a conventional resolution. We will see more of these licks in later volumes.

FOR TENOR SAX: G‹7

C7(b9)

FŒ„Š7(#11) C7(“4) FŒ„Š7 œ œ n œ œ œ n œ œ œœœ˙ -œ - - - -œ -œ œ #œ œ bœ -œ œ œ œ œœœ nœ œ &b 3

CONCERT: F‹7

B¨7(b9) E¨Œ„Š7(#11) B¨7(“4) E¨Œ„Š7 œ œ b œ œ œ n œ œ œ œ œœœ˙ bb œ -œ -œ -œ -œ œ -œ œ b œ b n œ œ n œ œ & œ 3

FERRERO Productions 2019

bbb